Twin Beach Players’ The Miser

Catch the second weekend of fun and frivolity

By Karen Lambert

Time-travel nearly 350 years from the court of King Louis XIV of France to Twin Beach Players’ version of Molière’s 1668 comedy of manners, L’Avare. The Miser, as English has it, completes performer/director Jeff Larson’s production of a Moliere trilogy, including Tartuffe and the Imaginary Invalid, spanning 14 years of theatrical performances by Twin Beach Players. Through all, he’s teamed with company president Sid Curl.
Colorful and convincing characters embroiled in a twisting plot make up The Miser’s world. In two acts, we witness what happens when Harpagon, the miser, obsessed with adding to his sizeable fortune, secrets away his wealth. To add to these riches, he plans marriages for his two children. Those around him, however, are equally determined to carry out their own plans.
These are familiar characters. Comedic archetypes we recognize had their roots in Moliere, including the bumbling Inspector Clouseau character of Pink Panther fame, first imagined as the Miser’s Inspector ­Sansclou. The characters use slapstick, physical humor and clever banter to keep us entertained.
As in Moliere’s time, some characters break through the imaginary fourth wall that separates the audience from the performers onstage to engage with us directly. The technique is visually interesting and involving as well as revelatory of a character’s private thoughts. Larson’s blocking uses stage space wisely, helping to focus our attention toward or away from imposing character action or dialogue, especially when multiple characters share the stage simultaneously.
Overall, acting is solid with some outstanding performances, including Luke Woods’ commendable physical and verbal character choices as Harpagon.
Annie Gorenflo’s Elise balances youth and experience. Aidan Davis adds strength to Valere with a pleasing and resonant vocal tone. Tom Weaver’s Cleante is sincere and believably love-struck, while Jenny Liese’s Marianne is bright and affable. Jim Weeks shows commanding physical agility and range as La Fleche.
Jeanne Louise as Mâitress Jacqueline Ze Chef is animated and excitable; her French accent is believable and her movements charmingly gazelle-like. Stage veteran Helenmary Ball is delightful as marriage broker Madame Frosine, offering impeccable comic timing, hilarious facial expressions and rich vocal variety. Kevin McAndrews masterfully performs his roles of Maitre Simon and Inspector Sansclou, shaping subtle nuances between them. Curl entertains in his cameo as Senor Anselme, drawing comparisons to the chameleon-like talent of actor Tim Conway in physical appearance, comic ability and vocal diversity.
The production staff skillfully executes their technical responsibilities, giving legitimacy to time and place. Music designer Robert Snider’s selection of pre-show, intermission and post-show music is consistent with the Baroque era. An able stage crew professionally and discreetly transforms the sparse set in Act I to a more fully furnished set in Act II. Costume design and makeup include period wigs, curls and costumes accented with bolder hues to enhance characterizations.

Two and a half hours with a 15-minute intermission; light refreshments available for purchase.